Noah Preminger: Sweet Science at the Jazz Standard
Isn’t it funny how some of the subtlest jazz musicians – Noah Preminger, Monty Alexander and Erica Smith among them – are also boxing fans? For those who misssed Preminger’s album release show for his new one, Haymaker, last night at the Jazz Standard, he’s playing two sets there tonight, May 22 at 7:30 and 9:30, a chance to hear one of the fastest-rising stars in melodic jazz at the top of his nuanced game.
Preminger was in an unexpectedly talkative mood, the house manager needling him to “play some jazz” as the possibly former pugilist explained why his ring career was at a standstill. “She hit me, so I hit her back, hard,” he deadpanned: the punch that landed on his female boxing coach was unintentional. Much as has been made about Preminger being a hard-hitting force on the tenor sax, what’s most remarkable about his playing is how effectively he uses space. Onstage with the crew from his album – Ben Monder on guitar, Matt Pavolka on bass and Colin Stranahan on drums – Preminger was more Ali than Foreman, taking his time, landing everything he threw, casually and expertly. There was one brief free-for-all during a roaring Dave Matthews cover, of all things: otherwise, tunes took front and center for the duration of the evening’s first set.
They opened with the album’s title track, Stranahan’s elegantly ornamented shuffle setting the tone for much of what would come later, rhythmically speaking, Monder’s chords cool and resonant until one of his signature shredding solos, Pavolka maintaining a terse modal pulse as Preminger chose his spots. They followed with another track from the new album, the balmy, gentle 6/8 ballad My Blues for You, Preminger’s marvelously misty, low-register outro more than hinting that the individual who inspired the song is no longer in his life (or maybe he’s not in hers).
The high point of the set (no pun intended) was 15,000 Feet, inspired, Preminger said, by his first skydive, from almost three miles up, over New Zealand (ostensibly the only place on the globe where it’s legal to leap out of a plane from such an altitude). Monder and Pavolka built a Hendrix-like propellerplane roar over Stranahan’s clenched-teeth insistence, Preminger leading the procession (metaphorically speaking) out into airier and ultimately more confident terrain: in Preminger’s hands, the view from three miles high is rather relaxing. Alison Wedding came up to sing harmonies on a gorgeously bittersweet take of Dave Douglas’ Blues for Steve Lacy, then led Preminger and Monder through a plaintive, elegaic original dedicated to an Australian pianist collaborator of hers who died young. After the digression into a different Dave (which could have cleared the room if they hadn’t done it so straightforwardly and confidently), Preminger chose the closing spot to send a brief, characteristically lyrical ballad out to his parents, who were in the house celebrating their anniversary.
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